Jorge Dalton

An American mother searches for her daughter who was kidnapped by human traffickers in Central America.

Eliseo Alberto (aka Lichi) was a scion of one of the most renowned families in Cuban arts and letters. He fled to Mexico City in 1990 where he lived the last two decades of his life. Lichi is the co-author of the screenplay for Guantanamera. His novel, Caracol Beach won the Premio Alfaguara and Informe contra mi mismo (Dossier Against Myself) details how he was asked to spy on family and friends when he was in the military. Shortly before his death in 2011, he asked filmmaker Jorge Dalton to film a lengthy conversation with him about his struggles with the revolution and his fervent hope that all Cubans would find a way to right their country’s course and reunite. That fateful, intimate conversation has now become the centerpiece of an urgent and enlightening film. A defender of freedom in its various guises, Lichi was convinced no one could love Cuba as much as he did.

Eliseo Alberto (aka Lichi) was a scion of one of the most renowned families in Cuban arts and letters. He fled to Mexico City in 1990 where he lived the last two decades of his life. Lichi is the co-author of the screenplay for Guantanamera. His novel, Caracol Beach won the Premio Alfaguara and Informe contra mi mismo (Dossier Against Myself) details how he was asked to spy on family and friends when he was in the military. Shortly before his death in 2011, he asked filmmaker Jorge Dalton to film a lengthy conversation with him about his struggles with the revolution and his fervent hope that all Cubans would find a way to right their country’s course and reunite. That fateful, intimate conversation has now become the centerpiece of an urgent and enlightening film. A defender of freedom in its various guises, Lichi was convinced no one could love Cuba as much as he did.

César Menéndez confesses that he has lived and, at the same time, is a man condemned to paint. Through a brief tour we enter the interior of his work and his world, loaded with a great religious and sacrilegious metaphor, in the tradition of Luis Buñuel or Federico Fellini.

César Menéndez confesses that he has lived and, at the same time, is a man condemned to paint. Through a brief tour we enter the interior of his work and his world, loaded with a great religious and sacrilegious metaphor, in the tradition of Luis Buñuel or Federico Fellini.